The show was painfully funny and featured plenty of favourite characters, including the delightfully preposterous vampires and the World War II airmen, who made repeated hilarious appearances.

The show really got going when the characters started involving audience members in their disturbing worlds. One poor lass found herself giggling on stage in the dentist’s chair while Armstrong probed her teeth.

I think they might have thought we were a tough crowd, but the sound wasn’t very clear, particularly during the songs which meant we were working hard to hear them.

Aside from the airmen sketches, the best bit was running into the boys themselves coming out of Croydon’s Bella Italia when we popped in for a pre-theatre meal! I was too astonished and star-struck to say anything, but was impressed with Alexander Armstrong’s taste in knitted cable hats.

Viewed from afar, the large canvases are striking, bright and full of colour. On closer inspection, you can see the pieces are a collage of multi-coloured dots with a few additions – human teeth, glitter, beads and most famously, elephant dung!

My favourite paintings were the psychedelic Afrodizzia (Second version) and No Woman, No Cry, a moving portrait of a weeping woman, which Ofili created in the aftermath of the Stephen Lawrence enquiry.

The Turner Prize-winning artist was born in Manchester and first came to prominence in the mid-90s. His art is heavily influenced by his Nigerian heritage, hip-hop culture, spirituality and nature, and his art cleverly fuses all of these elements.

As well as the paintings, there are a range of watercolours and sketches on display. Some of Ofili’s later work, inspired by a residency in Trinidad, is also included. It’s interesting to see how his style has changed – the later works are much more subdued, using layers of dark blue and the theme of nature becomes increasingly important.

Chris Ofili opens at Tate Britain on 27 January and continues until 16 May.